It’s more than just reading through letters and family records, but even that is detective work that gives us an enormous amount of information. No video montage of people doing fancy things with expensive machinery in dimly lit rooms or anything, but there it is. This new dating also fits stylistic criteria. 425, when the Mozart couple made a stopover in Linz on their way back to Vienna from Salzburg. On the basis of Mozart’s script, Plath assigns the piece to the time around 1783/84, “likely not long before the appearance of the first print.” Furthermore, Tyson convincingly demonstrates through paper tests that the work was composed at the end of 1783, likely in November, around the same time as the “Linz Symphony”, K. More recently, this date has been invalidated by the findings of Wolfgang Plath and Alan Tyson. That late 70s date was maintained until as late as 1964, but Wikipedia tells us how it was eventually determined, apparently pretty incontestably, that the work is in fact from 1783: I promised you forensics, and forensics you will get. As a result, it was estimated to have been composed between 17.
This piece was also subject to some confusion, at least in part because the paper didn’t match what people would have expected him to be writing on at the time.
You may remember that the previous three sonatas were not of 100% certain chronology, but figured on being around the summer of 1783. Unfortunately, and perhaps unsurprisingly, it’s not that simple.
We just recently discussed Mozart’s sonatas numbered 10, 11 and 12, and they are given catalogue numbers 330-332, and here we are at the thirteenth sonata, with catalogue number 333. Perhaps the same sort of tests and things were done with the previous sonatas in Mozart’s chronology, but the catalogue number is, it appears, actually a little bit deceptive. You like forensics, don’t you, dear reader? After shows like CSI and others, as well as what seems (at least to me) to be the growing fad of true crime podcasts, shows, and documentaries, it seems most people have dipped their toes into that pool.ĭid you know, though, that forensics plays a part in classical music, or at least its history? This certainly isn’t the only piece where a different kind of analysis comes into play, but it’s significant enough to mention.
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